@RAvery thinking of you.
I have such a crush on Amber. She is straight up adorable.
The first episode in the series. I just started watching it, and it appears to already to be meatier than the LC doco produced by Epix.
Tonight, I watched “The Man Who Killed Hitler And Then Bigfoot”.
Despite what you might think from the title, it’s a really deep artistic film. Out of all of that, the first two words are the key. Fair warning, you’re not going to see somebody going Rambo and mowing down nazis and monsters in typical Hollywood action movie fashion. You’re going to see the man. And you’re going to feel for him.
Yes you will see the scenes with Hitler and with Bigfoot, but those, while focal points of the man’s life, are not really huge portions of the movie. It’s about the man.
You’re going to see him confiding in his bartender and his barber. Like ordinary people do. And sharing his breakfast with his dog. And trying to decide what is the right thing to do. And reminiscing about things that he failed to do in the past and what he’s lost in life because of what he’s done. This legendary man who did legendary things. But nobody knows of course. To anyone else, he’s just a normal guy. Could be your neighbor or any customer that comes into your shop. And he has normal guy problems.
You’re also going to see him do legendary things that he thinks will have a huge effect, but in reality, they don’t change anything. And you’ll find out why in a really powerful, and all-too-real scene. And you’re also going to see him do things he doesn’t want to do, but have to be done. Things that make him cry.
And in the end, there are questions left unanswered. As one reviewer said it “this movie holds up a mirror to the audience, and what you see is personal”. Talking about it with my wife afterwards, we had wildly different ideas about one of the unanswered questions (when you watch it, you’ll know) and that makes for good discussion.
Sam Elliott is in top-notch form in this movie. The other actors are good as well. It’s a bit slow at times, but I think the pacing is deliberate for a reason. It’s a movie to make you think about a lot of things - people, legends, relationships, history, etc. You need a little time for that. A few bits seemed a little rushed, but you can only fit so much into a movie’s timespan.
I highly recommend it. Just be aware that it’s not a happy-go-lucky movie or an action extravaganza or something that ties everything up neatly. It doesn’t have a happy or sad ending. It’s meant to leave you thinking and wondering about the significance of parts of it. And what did or didn’t happen in the times that weren’t covered. It’s a gem.
saw this in a reddit group
II haven’t actually seen this since its theatrical run
He’s no Jon Stewart, but no human could ever be besides JS…
Spoiler: Jordan Klepper has a special edition of “Fingering the Pulse” for this occasion!
Last year at Marienbad. Perhaps in honor of one of the words of the year (‘gaslighting’. Definitely not a ‘Goblincore’ sort of movie). I’m trying to improve my french listening skills, and the repetitious nature of the script seems geared towards that.
I have never seen it, but I read in some book a person describing this huge, empty mansion-type building as something out of that movie. Does that apply?
@kxkvi - The Salvador-Dali-designed “Linkin Murcurry” made me think of your most recent post in the WWO,C? thread.
Also: Look for a ceramic cheetah, like the ones they gave away in the early days of “Wheel of Fortune”, in which the guest who won all the regular rounds used it to shop for items in the showroom, and would actually receive any leftover balance in cash as a part of their prize. It’s in the “Nice Kids from Hell” sketch.
In the opening minutes of Last Year at Marienbad , the extended metaphor that structures the entirety of the film becomes clear. As the opening dialogue echoing through the hallways of Marienbad suggest –actually, they don’t suggest it, they outright tell you – the hotel itself is a grand symbol for the functions of human memory: the corridors are endless, each hallway and room is exquisitely detailed with ornamentation of a bygone era (read: details of memory from events long past), and the hallways are endless, interchangeable, and unpredictable. Memory for Resnais clearly possesses qualities that are the opposite of objectivity, and instead shape selectively everything we think and know – or everything we think we think and know – while determining our attitudes towards the present. Thus, two characters can recall an event and literally see two different things (if one can recall it at all) with neither of them being wrong. Our subjective memory, the film suggests, shapes our knowledge of reality, compounding memory upon memory as further assumptions of reality are built upon subjectivities formed from previous subjectivities.
You could describe it as a terribly pretentious film in which there is no comprehensible plot, and the director might agree with you.
I think I may have to watch The Shining to see if parts of the Overlook were filmed with Marienbad in mind.
Yes, but would Kubrick ever admit it? (still pissed that the entire point of the novel - it was about Danny - was ignored so Jack & Stanley’s egos could be fed.)
Now if there were a German Expressionist version of LYaM, I’d watch that for certain.
This guy (David Hoffman) posts tons of clips of old interviews, documentaries, etc. that he’s filmed over the years. Many of them are really interesting to watch, including this university debate about free speech from the 1960s.
I can’t imagine something similar happening today, at least not the way that did.